Ancona's impression of Smillie used the catchphrase " I ’ m Smiley Smiley Carol Smillie ", which Smillie adopted and has entered into popular culture when referencing her.

The illustrious French actress was not alone in her admiration for Ancona's vocal artistry.

According to the critic Michael Scott, author of The Record of Singing, Ancona's smooth, fluent and refined method of singing pre-dated the verismo movement.

An extensive collection of documents, photographs and other items relating to Ancona's career is preserved at Stanford University's Archive of Recorded Sound in California.

Fortunately, however, Ancona's thoroughbred voice lives on in a series of gramophone recordings which he made during the first decade of the 20th century for Pathé in 1905-06 and, more rewardingly, for the Victor Talking Machine Company in 1907-08.

Erhard Reuwich's pictures for Bernhard von Breydenbach's 1486 Pilgrimages to the Holy Land were long thought to be the source for both the elephant and the giraffe, though more recent research indicates the mid-15th century humanist scholar Cyriac of Ancona's travelogues served as Bosch's exposure to these exotic animals.

* Cyriacus of Ancona's Journeys in the Propontis and the Northern Aegean, 1444-1445 ( 1976 ), edited and translated by Edward Bodnar and C. Mitchell.

Verdi ’ s masterworks dominate the standard opera repertoire a century and a half after their composition.

At the same time, Britain's Sir Thomas Allen was considered to be the most versatile baritone of his generation in regards to repertoire, which ranged from Mozart to Verdi and lighter Wagner roles, through French and Russian opera, to modern English music.

Because the Verdi Baritone is sometimes seen as subset of the Dramatic Baritone, some singers perform roles from both sets of repertoire.

In the 1930s, the company presented standard repertoire works including operas by Mozart, Verdi, Wagner and Puccini, lighter works by Balfe, Donizetti, Offenbach and Johann Strauss, some novelties, among which were operas by Holst, Ethel Smyth and Charles Villiers Stanford, and an unusual attempt at staging an oratorio, Mendelssohn's Elijah.

His orchestral repertoire numbered over 450 works from all periods, and was matched by a repertoire of some sixty operas ranging from Mozart, Verdi, Puccini and Wagner to the more contemporary Prokofiev, Bartók, Britten, Kodály, Poulenc and Janáček.

Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.

Moving into the heavier Verdi repertoire in the 1970s, she sang Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Luisa Miller, Lady Macbeth, Leonora in Il trovatore and the Requiem, all under the baton of the Met's music director James Levine.

In this period he worked in collaboration with many leading European directors, including Peter Stein, Joachim Herz, Lucian Pintilie, and Harry Kupfer, conducting a wide repertoire of Verdi, Wagner, Janáček, Strauss, Berg and Britten and, in 1986, performances of the complete Ring Cycle.

Haenchen was particularly associated with the German repertoire: Richard Strauss, Mozart, and Wagner, but he also conducted opera of Verdi, Bartók, Tchaikovsky, Puccini, and Gluck.

In the middle of the 19th century the repertoire was dominated by the popular French composers such as Halévy, Daniel Auber, and Giacomo Meyerbeer, and the Italian composers, Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini and Giuseppe Verdi who had considerable success in Paris.

He subsequently added the Mozart roles Figaro ( in 1940 ) and Sarastro ( in 1942 ) to his repertoire, a vast number of Italian operatic roles of Bellini, Donizetti, and Verdi, and Mussorgsky's Boris Godunov ( sung in Italian ).

From there she also studied interpretation at the Renata Scotto Institute in Savona, Italy, and verdian repertoire at the Verdi Opera Studio in Parma, Italy.

She has sung a wide variety of roles, but is best known as an exponent of the bel canto repertoire, notably the works of Rossini, Bellini, Donizetti and Verdi.

Works by Giuseppe Verdi and, later in 1871, the Italian premiere of Richard Wagner's Lohengrin dominated the theatre's repertoire as the century progressed.

Mirella Freni, birth name Mirella Fregni, ( born 27 February 1935, Modena, Italy ) is an Italian opera soprano whose repertoire includes Verdi, Puccini, Mozart and Tchaikovsky.

Although his international fame was almost entirely in the German repertoire, in Germany and Austria he was also known for performing Verdi in the vernacular and was, for example a popular Falstaff and a formidable Grand Inquisitor in Don Carlos, a role he performed in Italian in several theatres as well, including a breathtaking performance at the Metropolitan Opera in New York.

By 1975 the group had built up a repertoire of 120 works, including the complete Beethoven, Schubert, Cherubini and Bartok quartets, and works by Haydn, Mozart, Brahms, Hugo Wolf, Pfitzner, Verdi, Donizetti, Debussy, Smetana, Kodály, Janáček, Hindemith, Alban Berg, Gian Francesco Malipiero, Witold Lutosławski, Milko Kelemen, Wittinger and Horvath.

He sang mostly in Verdi and the Russian repertoire, although he also proved to be a refined performer of vocal chamber music.

In addition to Tosca and Romeo et Juliette, Eames ' repertoire featured a comparatively small but stylistically diverse group of operas, ranging from works composed by Mozart, through Verdi and Wagner, to Mascagni.

In particular, he was not known as an interpreter of the Italian opera repertoire ( he conducted no Puccini and only three Verdi works during his music directorship at Covent Garden ).

For fifteen years she was a prima donna and soloist with the ColombiaOpera Theater, where her repertoire included verismo such as Verdi and Puccini, Romanticists such as Donizetti and Classicists such as Mozart.

Venues included the Royal Hall, Harrogate and the Opera House, Buxton, and the repertoire ranged from Verdi through light opera and musical comedy to music hall.

She went on to achieve international fame in a repertoire which also embraced the great dramatic Verdi roles including Abigaile in Nabucco, Lady Macbeth, Leonora in Il trovatore, Amelia in Un ballo in maschera, and Elena in I vespri siciliani.

Symphonic repertoire often involves separate parts for trumpet and cornet.

As well, some recordings may have been made in one area that did not represent klezmer repertoire from other parts of the region.

Many parts in the coloratura soprano repertoire extend beyond " high C " and often extend up to high F ( F6 ).

The title role in Puccini's Tosca, which she had added to her repertoire in 1909, was another one of her favourite Met parts.

Each individual bird has its own repertoire based on combinations of variations of the three parts.

Supplementary materials are also published under the Suzuki name, including some etudes, note-reading books, piano accompaniment parts, guitar accompaniment parts, duets, trios, string orchestra, and string quartet arrangements of Suzuki repertoire.

The orchestral parts also include many demanding sections, including the violin solo in the Sanctus and some of the most demanding work in the repertoire for bassoon and contrabassoon.

Pinza's repertoire consisted of some 95 classical parts.

Although he continued to occasionally play leads – notably when he was a playboy in Billy Wilder's Midnight with Claudette Colbert and John Barrymore in 1939 – in the late 1930s Lederer began to expand his film acting repertoire with offbeat character parts, even playing villains.

The early repertoire of the Sinfonia was drawn from standard classical repertoire ( such as " The Blue Danube " waltz and " Also sprach Zarathustra "), so that most orchestra members had a rough idea of what the piece, or at least famous parts of it, should sound like ; even if they could not play their chosen instrument accurately, they would at least have an idea that they should be going higher at one part then lower at another, and so on.

To the extent that the movement repertoire breaks down partly into the actions of separate body parts, the map contains a rough and overlapping body arrangement noted by researchers over the past century.

Buchanan also introduced Kaukonen to the music of Reverend Gary Davis, whose songs have remained important parts of Kaukonen's repertoire throughout his career.

Though her repertoire is extensive, her signature parts are the title roles in Carmen and Samson et Dalila.

She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire.

He played a great many parts, in both the classic and the modern repertoire, and also had much success in reciting monologues of his own composition.

: Each summer students are assigned, in advance, the complete set of orchestral parts for symphonic repertoire that are prepared to be worked on in a sectional setting.

Her early parts with the company were from the lyric soprano repertoire, such as Nedda, Countess Almaviva in Mozart's The Marriage of Figaro, Marguerite in Gounod's Faust, Micaela in Bizet's Carmen, and the three heroines in Offenbach's The Tales of Hoffmann.

Wolfram is a much more lyrical part than Wotan, and normally the same singer would not have both parts on his repertoire.

Guo incorporates parts of the manual's skills into his own repertoire of martial arts and becomes stronger.

By the age of 22 she knew Hungarian, German, English, French and Italian and her repertoire consisted of fifteen leading dramatic soprano roles, eleven of which were Wagnerian parts.

They were first given to Charlotta Eriksson, but Eriksson, a star with a different repertoire and expression, was not suited for the parts of Torsslow.

Among her parts were " Qväkaren och dansaren " ( The quaker and the dancer ) by Scribe, " Shakspears Kär " ( Shakespear's love ), " Jungfrun av Orleans " ( The Maid of Lorraine ) by Schiller, Mary Stuart ( play ) and " Hamlet " and had 125 roles in her repertoire.